uy-NHLF 


^B    555    ^bM 


GIFT  OF 

Mrs,   L,:^  Elipman 


THUR  WILLIAM  HEINTZELMAN 
ETCHER 


GOODSPEED'S 


MONOGRAPHS 

No.  1 


THE   GOODSPEED    MONOGRAPHS 
Louis  A.  Holman»  Editor 

Of  intenzt  to  all  lover  % 
of  printi  and  of  booki . 

I       Arthur  William  Heintzelman,  Etcher 

2.     Sears  Gallagher's  Etchings  of  Boston 
{Ready  early  in  October) 

5       Hornby's  Etchings  of  the  Great  Wiit 


25  cents  each,  postpaid 
Others  in    preparation 

GOODSPEED'S   BOOKSHOP,  5a  Park  St 
BOSTON 


ARTHUR    WILLIAM    HEINTZELMAN 
ETCHER 


\<I0.   ^'o      ^*'i  V,^A\S1       (K  ^t\.^  ^^V,A^UA) 


"  Heintzelman's  sensitive  appreciation  ot  the 
possibilities  of  an  etching,  his  mastery  of 
technique,  and  his  imaginative  power  are  such 
as  to  raise  him  high  among  living  American 
etchers."  I,.  EARI.E  ROWE,  Director  of  the 
Rhode  Island  School  of  Design ,  in  a  recent  letter. 


ARTHUR  WILLIAM  HEINTZELMAN 
ETCHER 

AN  APPRECIATION  OF  THE  MAN 

AND  HIS  WORK  WITH  AN 

AUTHORITATIVE 

LIST  OF  HIS 

ETCHINGS  \    !!.:!'.; 


By 
Louis  A.  Holman 


CHARLES  E.  GOODSPEED  &:  CO.  BOSTON 

1920 


\^^''      vV 


\       \ 


Copyright  1920,  by 
C.  E.  GOODSPEED  &  CO. 

All  rights  reserved 


\v<s.  t^    A*t  s?i>»vv\. 


ARTHUR  WILLIAM  HEINTZELMAN 
ETCHER 

OME  twenty  years  ago  the  writer  acci- 
dentally met  a  well-grown  lad  of  fifteen 
who  immediately  arrested  his  attention. 
The  boy  Avas  attractive,  courteous  and 
intelligent ;  to  his  employer  he  gave  complete  satis- 
faction ;  each  w^ord  and  act  bespoke  his  sincerity. 
High  hopes  were  built  upon  his  future. 

At  this  particular  time  I  was  troubled  over  the 
very  unsatisfactory  conduct  of  the  son  of  a  friend, 
an  unattractive  boy  of  the  same  age.  He  showed 
ability  and  ambition  only    in   foot-ball    and  in  the 


825738 


;  .making  of  trouble  at  school,  where  he  did  every- 
' 'thing  but  study.  At  home  he  was  a  trial,  to  the 
neighbors  an  annoyance.  Finally,  in  another^school, 
to  which  in  desperation  he  was  sent,  he  came  in 
touch  with  a  teacher  who  was  also  a  foot-ball 
enthusiast.  This  wise  man  gave  no  hasty  advice 
but, — no  one  knows  how  it  happened, — in  a  few 
months  teacher  and  pupiHvere  bending  eagerly  over 
the  same  study  table.  A  scientific  pursuit  gradually 
usurped  the  high  place  of  foot- ball  in  the  youth's 
heart  and  won  ascendancy  over  every  unseemly 
motive  of  his  life.  To-day,  as  an  honored  Govern- 
ment employee,  he  is  doing  original  and  extremely 
valuable  public  work. 

A  few  weeks  ago  I  suddenly  ran  across  an  old 
friend  of  the  other  boy,  of  whom  I  had  lost  track. 
With  deep  regret  I  learned  that  he  had  attempted 
many  things  but  had  failed  in  every  one.  "And  no 
one  can  say,"  added  my  informant,  "that  wine, 
women,  song,  or  any  related  thing  has  been  his  un- 
doing ;  he  is  attractive  and  courteous  still, — but  a 
blank  failure." 

This  is  no  preachment.  I  am  pointing  no  moral 
but  simply  giving  these  facts  to  show  how  absolutely 
at  fault  may  be  the  most  logically  formed  judgment 
regarding  the  future  work  of  any  young  man.  In 
spite  of  this,  however,  I  venture  to  assert  that  the 
etched  work  of  Arthur  William  Heintzelman  gives 
greater  promise  of  a  brilliant  future  than  that  of  any 
American  etcher  that  has  appeared  within  recent 
years. 

6 


>kO.  \     ^v,-!.  *v.%%\     (\^^\^-^l^v\^^.\v•'?,  'iw.*-^  t-^t*\\v^)     ^*<iw  ^*t  ^ov^tt"^\(s>v  ^^  v.Qtv  vtswt 


The  need  of  sympathetic  guidance  in  the  use  of 
talents  and  in  the  choice  of  a  life  work  is  comino^  to 
be  more  widely  recognized.  A  youth  is  not  capable 
of  forming  a  just  estimate  of  his  own  ability.  He 
will  inevitably  over-  or  under-value  some  important 
qualification.  On  the  other  hand,  a  cold  calculation 
by  some  one  else  of  the  potentiality  of  the  motive 
forces  of  this  same  youtji-  can  be  of  little  import, 
without  taking  into  account  the  fleeting  enthusiasms, 
the  deep  and  wild  ambitions  that  stir  the  depths  of 
the  boy's  soul.  And  this  can  only  come  through 
the  keen  insight  born  of  intimate  association. 

It  was  a  sort  of  habit  with  Heintzelman  to  fall 
into  just  such  sympathetic  environment,  from  the 
eventful  day  when,  at  the  tender  age  of  nine,  he 
entered  the  Saturday  class  of  the  Rhode  Island 
School  of  Design,  to  that  proud  moment,  two  years 
ago,  when  as  an  honored  guest  of  Frank  W.  Benson, 
the  celebrated  painter  and  etcher,  he  bent  over  the 
etching  tray  in  his  host's  studio.  He  speaks  with 
o^lowins:  face  of  the  kindness  Benson  showed  him 
and  of  the  help  he  received  during  that  wonderful 
two  days'  visit.  The  writer  is  cognizant  of  his  deep 
appreciation  of  much  lesser  services.  To  all  those 
whose  lot  it  was  to  be  his  instructors  he  must  have 
made  strong  appeal.  For  Heintzelman's  etchings 
reveal  nothing  if  not  that  they  were  produced  by  a 
deeply  sincere  person.  Who  that  has  ever  tried  to 
teach  and  has  seen  his  directions  earnestly  followed 
will  ever  forget  the  experience,  or  the  pleasure  and 
ease    with   which  further  help  was  given?     Under 

8 


such  circumstances  the  pupil  gets  double  instruction  ; 
the  teacher  double  pleasure. 

I  say  this  about  Heintzelman's  quality  of  appre- 
ciation for  two  reasons.  First,  for  the  satisfaction 
of  those  teachers  who  may  chance  to  see  it  and, 
second,  because  it  is  a  human  quality  that  is  pitifully 
rare.  A  village  in  China  was  "  shot  up  "  by  robbers. 
Twenty  were  killed,  twenty-two  wounded.  "  We 
heard  of  it,"  said  my  friend,  "and  w^ent  to  help  them. 
The  carts  the  wounded  men's  relations  refused  to 
lend,  we  hired,  mind  you,  at  our  own  expense,  and 
•  carried  the  helpless  ones  twenty-five  miles  to  a 
hospital,  where  they  received  free  treatment.  In 
six  weeks  all  were  discharged,  cured.  Of  the 
twenty-two  just  one  said  'thank  you.'  But,"  said 
the  missionary,  after  a  pause,  "  one  did.  That's  why 
we  stay  on  the  job."  Too  many  teachers  will  find 
here  an  echo  of  their  own  experiences. 

But  to  get  back  to  Heintzelman.  He  was  only 
nine,  as  has  been  said,  when  he  entered  the  art 
school  at  Providence.  What  application  must  have 
been  his  is  shown  by  the  fact  that  in  the  succeeding 
eight  years  he  won  the  Providence  Art  Club  Scholar- 
ship, the  Trustees'  Post  Graduate  Scholarship 
for  Fidelity  and  Ability,  the  Medal  Competition  of 
the  Rhode  Island  School  of  Design,  and,  lastly,  the 
Alumni  Traveling  Scholarship. 

The  latter  gave  him  the  opportunity  of  studying 
abroad.  So  for  a  year,  with  his  heart  set  on  beins: 
a  portrait  painter,  Heintzelman  studied  in  the  rich 


storehouses  where  Holland,  France,  Spain,  Belgium, 
and  Great  Britain  keep  their  choicest  treasures. 

His  year  of  wandering  over,  he  came  home  in  the 
Autumn  of  1910,  and  for  the  next  four  years  (be- 
ginning, it  is  worth  noticing,*  before  he  was  eighteen 
years  of  age)  he  was  Head  of  the  Fine  Arts  Depart- 
ment of  the  Detroit  School  of  Design,  at  Detroit, 
Michigan.  In  September^  1914, — for  the  greater 
opportunity  it  opened  up, — he  accepted  the  position 
of  an  instructor  in  the  Fine  Arts  Department  of 
the  Rhode  Island  School  of  Design. 

Up  to  this  point  and  for  about  a  year  beyond, 
Heintzelman  was  an  instructor  in  art,  with  the 
spirits  of  Rembrandt  and  Velasquez  ever  beckoning 
him  on.  Could  he  have  known  then  that  his  first 
"  one  man  show  "  was  but  a  few  months  off,  he  would 
have  assumed  without  question  that  it  would  be  of 
portraits. 

One  day,  however,  a  friend  sent  him  a  marked 
copy  of  the  Christian  Science  Monitor  containing 
an  article  on  etching  by  George  T.  Plowman.  It 
set  him  thinking  over  a  new  possibility  and  finally 
resulted  in  his  getting  the  materials  and  going  to 
work.  The  need  of  more  knowledge  on  the  subject 
brought  him  to  Boston.  Attracted  by  some  etchings 
in  the  window  of  a  print  shop,  he  stepped  in  to  ask 
about  Plowman's  text  book.  And  so  it  v/as  that  I 
first  met  Heintzelman,  for  I  happened  to  be  the  one 
of  whom  he  made  enquiry.  We  fell  into  conversa- 
tion  while   he    orlanced  throutjh  the  book.     As  he 


*  Heintzelman  was  born  Nov.  22,  1892,  at  Newark,  N.  J. 
10 


amentii-seueu  4: tr  1111195 
bi|  A.  W.  i^i>iut2i4man 
mill  be  nu  uiem  ftnm 
i§cL  2H,  til  3fi»).^  m.  1917  at 
(Bini&spteb'B,  Snok  &hnp, 
5a  IJark  S^ttset,  Siuitiiu. 
^an  at^  t^apctlfullg 
iuuitei    to     s^f     tlj^m. 


\)\n\%V\\0»  -\«i  ^^XHM^VWV^^--^  ^N^ST  %t,^*\4\A\0H 


turned  to  go,  with  the  book  under  his  arm,  he 
remarked  in  a  hesitating  manner,  "You  see, — I've 
been  trying  some  phites  myself."  On  an  expression 
of  interest  he  took  from  his  inside  pocket  a  bunch 
of  letters  and  loose  papers.  From  among  these  he 
pulled  out  a  few  small  proofs  of  etchings — the  first 
time  they  had  been  shown  outside  his  studio.  I 
think  I  am  correct  in  saying  that  the  first  glance 


convinced  me  of  the  exceptional  ability  of  the  modest 
young  man  who  made  them.  I  saw  first,  and  with 
great  satisfaction,  that  they  were  correctly  drawn, 
although  perhaps  over-detailed  in  places.  I  saw, 
too,  what  is  much  more  important,  that  whatever  he 
might  or  might  not  do  with  the  brush,  these  prints 
bore  ample  proof  that  the  etching-needle  was  for  him 
a  perfectly  natural  means  of  expression.  TJie  Rabbi, 
the  first  plate  he  had  etched,  proved  these  two  im- 
portant points  to  my  entire  satisfaction. 

(Yet  from  what  different  angles  we  view  things  ! 
There  were  critics  for  whose  judgment  I  have  great 
respect  who  shook  their  heads  over  my  enthusiasm.) 

An  invitation  to  exhibit  ^vas  given,  but  was  de- 
clined on  the  score  of  not  having  enough  plates 
ready  for  an  exhibition.  However,  if  the  etching  of 
some  more  plates  did  not  interfere  w^th  some  volun- 
teer war  work  for  which  he  had  signed  up,  he  would 
accept  for  the  following  autumn. 

The  war  work  was  attended  to  and  Plowman's 
book  studied  with  such  satisfaction  that  when  an 
opportunity  presented  itself  to  spend  an  afternoon 

12 


with  the  author-etcher,  he  availed  himself  of  it  and 
had  a  pleasurable  and  profitable  time. 

Heintzelman  made  his  bow  to  the  great  public 
(which  has  treated  him  as  well  as  did  his  teachers) 
in  Boston,  October  22,  1917,  at  8.30  A.M.  The 
exact  time  of  day  is  given  because  I  recall  the  great 
pleasure  I  felt  that  at  that  hour — indeed  while  the 
prints  were  being  hung — several  of  them  had  been 
sold.  Among  these  was  a  little,  half-finished  dry- 
point,  The  Crucifix,  of  which  there  was  but  one 
impression.  It  was  recently  resold  at  nearly  four 
times  its  original  price.  In  that  the  exhibition 
created  a  decidedly  favorable  impression,  it  was  suc- 
cessful in  the  best  sense  of  the  word. 

As  the  first  published  criticism  of  Heintzelman's 
etchings  it  is  of  interest  here  to  give,  in  part,  what 
William  Howe  Downes,  the  art  critic,  had  to  say  of 
them.  The  review  appeared  in  the  Boston  Evening 
Transcript  for  October  25,  1917. 

"Goodspeed's  bookshop,"  says  Mr.  Downes, 
"  introduces  a  new  etcher  in  the  person  of  Arthur 
W.  Heintzelman,  whose  collection  of  twenty-seven 
plates,  now  on  exhibition  in  the  print  room,  shows 
that  he  is  an  artist  of  distinct  merit.  He  has  had 
some  experience  as  a  painter,  but  only  took  up 
etching  about  one  year  and  a  half  ago,  and  this  is 
his  first  exhibition.  Most  of  his  prints  are  figure 
pieces  and  heads.  He  draws  extremely  well,  as  is 
shown  in  such  works  as  his  AbduUali,  Man  with 
Guitar,  the  Violin  Player,  and  the  head  of  a 
young    girl.     If   there    is    any    particular  influence 

13 


indicated  in  his  work  (and  there  is  indeed  very  little 
trace  of  any  external  influence,  considering  that  the 
man  is  almost  a  beginner),  it  is  that  of  the  old 
masters  of  engraving,  Rembrandt  and  Durer  and 
Van  Dyck.  That  is  tatamount  to  saying  that  he  is 
already  a  rather  mature  artist  for  his  years,  that  he 
is  especially  concerned  to  express  individual  char- 
acter through  mood,  action,  and  the  marks  of  experi- 
ence, as  well  as  thorough  construction  and  sound 
draughtsmanship. 

"It  is  one  thing  to  say  that  a  young  etcher  reminds 
one  of  Rembrandt  or  of  Diirer,  and  it  is  another 
thing  to  say  that  he  is  consciously  following  those 
masters.  Wc  do  not  suppose  that  Mr.  Heintzelman 
has  had  these  great  exemplars  in  his  mind  while  he 
has  been  at  work  over  his  plates,  but  it  is  almost  an 
impossibility  for  a  man  to  be  an  etcher  of  any  con- 
sequence without  being  in  some  degree  conscious, 
more  or  less  instinctively,  of  the  background  of  his 
art  which  makes  its  tradition  so  impressive  and  so 
inspiring.  There  are  bits  of  expressive  drawing 
here  and  there  in  the  heads  and  hands  that  make  one 
think  of  the  way  the  great  masters  worked,  and  that 
in  itself  is  certainly  no  slight  tribute  to  the  character 
of  the  work. 

"  Abdullah  is  not  only  the  sort  of  figure  that 
Rembrandt  liked  to  etch — a  half-length  figure  of  a 
bearded,  swarthy,  middle-aged  man  in  a  turban,  with 
his  right  hand  on  the  neck  of  a  pottery  water  jug — 
but  it  has  the  kind  of  carrying  quality  that  some  of 
Rembrandt's  small,  single  figures  possess.     In  the 

14 


,  {  H'i* 

^^^■U   ' 

p 

^r^^^^^^H 

^^ 

:^. 

*0.  AG      0\.^  Si^V^S 


Man  loith  Guitar,  the  head  and  the  hands  are  par- 
ticularly well  drawn  and  characterized  ;  so  also  the 
action  of  the  Violin  Player  is  admirably  felt,  and 
there  is  in  several  of  the  other  studies  of  figures  and 
of  heads  the  note  of  intimacy  and  of  subtlety  which 
usually  comes  only  with  long  and  arduous  practice 
and  experience  of  the  art. 

"  Mr.  Heintzelman  promises  to  become  a  recog- 
nized and  appreciated  etcher.  *  *  *  His  art  career  has 
not  been  a  long  one,  since  he  is  only  twenty-four 
years  of  age.  He  modestly  says  that  he  'hopes  to 
be  a  real  artist  some  day,'  and  to  give  the  world 
something  in  portraiture  perhaps  that  will  live." 

It  is  a  curious  fact  that  many  a  treasure  that  the 
world  holds  dear  and  "  that  will  live  "  is  not  the  thin^ 
by  which  its  author  longed  to  be  immortalized. 
William  Hazlitt  hoped  to  be  remembered  as  an  artist* 
but  the  world  which  acclaims  him  one  of  her  crreat 
masters  of  English  scarcely  knows  of  his  deep 
ambition.  Rev.  C.  L.  Dod£:son  siorned  his  name  to 
books  on  higher  mathematics.  When  he  wrote 
Alice  in  Wonderland  he  used  a  pen-name.  Already 
Dodgson  and  his  scientific  books  are  forgotten,  but 
Alice  and  "  Lewis  Carroll "  live.  Edward  Lear 
made  many  beautiful  landscape  drawings.  To  amuse 
some  children  he  produced  nonsense  verses,  with 
drawings  equally  nonsensical.  Who,  to-day,  knows 
Lear's  landscapes?  Who  does  not  know  his  Non- 
sense Boohs?     Seymour  Haden  was  always  intro- 

*  The  portrait  of  Charles  Lamb  in  the  National  Gallery  is  by 
William  Hazlitt. 

16 


duced  to  his  American  audiences  as  the  distinguished 
London  surgeon,  but  it  is  as  an  etcher  that  he  will  live. 

Heintzelman  may  paint  some  portraits  that  will 
live.  He  has  the  best  wishes  of  all  who  know  him 
for  success  in  the  attainment  of  this  great  ambition, 
and  for  it  he  has  all  the  qualifications  of  brain  backed 
up  by  a  true  eye  and  a  dexterous  hand.  But  the 
verdict  of  the  past  three  years  is  that  Heintzelman 
is  preeminently  an  etcher. 

And  now  let  us  see,  without  argumentation,  simply 
by  presentation  of  facts,  what  that  verdict  is  and 
from  whom  it  comes.  First  there  is  that  of  the 
great  public,  expressed  by  the  success  of  the  many 
exhibitions  of  his  work.  As  has  been  said,  his 
maiden  effort  in  this  line  was  in  Boston  in  Octobei-, 
1917.  His  second  was  at  the  same  place  a  year 
later.  By  the  autumn  of  1919  Heintzelman  had 
enough  plates  and  enough  confidence  in  the  drawing 
power  of  his  exhibitions  to  venture  further  from 
home  and  stage  a  show  at  Keppel's  in  New  York. 
Exhibitions  in  other  cities  followed  in  such  rapid 
succession  that  he  had  difficulty  in  keeping  pace  with 
their  requirements.  Detroit,  Cincinnati,  Providence, 
Chicago,  New  York,  Washington,  San  Francisco, 
Boston,  Los  Angeles,  London,  Paris,  and  various 
other  places  saw  his  work,  all  in  the  short  space  of 
eight  months,  and  they  set  their  seal  of  approval 
upon  it  by  retaining  choice  impressions  for  their 
public  and  private  collections. 

The  success,  we  may  more  accurately  say  enthusi- 
asm^   with    which   these    public    exhibitions    were 

18 


attended  was,  to  an  extent  at  least,  due  to  the  verdict 
of  the  press,  which  viewed  the  work  of  the  new 
etcher  with  a  most  kindly  eye.  Frank  W.  Coburn, 
in  the  Boston  Herald,  for  instance  gives  him  this 
joyous  greeting : 

"A  young  artist  to  be  reckoned  with,  one  would 
say,  from  the  look  of  his  show.  Boston  painter 
men  have  been  in  to  see  his  things  this  past  week 
and  two,  at  least,  of  them,  Messrs.  Benson  and 
Gaugengigl,  have  shown  appreciation  by  buying 
prints.  The  boy  has  a  nice  sense  of  construction 
and  draws  picturesque  figures,  such  as  his  Arab 
Abdullah  with  a  water  bottle,  in  a  knowing  way. 
He  does  his  own  printing,  sometimes  with  ink,  that 
is,  perhaps,  a  bit  pale,  though  the  resultant  suffusion 
of  tone  is  agreeable.  The  draughtsmanship  of  A 
Market  Woman  and  A  Man  ivith  Guitar  is  ad- 
mirable for  its  purpose.  Here  is  the  beginning  of  a 
career  which,  pace  Martis,  should  be  quite  dis- 
tinguished." 

I  much  regret  that  I  have  not  at  my  command 
nearly  all  the  reviews  that  appeared  in  connection 
with  the  various  exhibitions.  From  those  that  it 
was  possible  to  get,  a  selection  has  been  made  that 
will  give  a  fair  idea  of  the  great  mass. 

Marion  E.  Fenton  reviewed  the  first  show  at 
Keppel's  for  Vogue. 

"A  new  etcher,  Arthur  W.  Heintzelman,  with  all 
the  unspoiled  freshness  of  youth  in  his  art,  showed  his 
work  for  the  first  time  [in  New  York]  in  the  autumn 
exhibition  at  the  Keppel  Galleries.     Only  a  cursory 

19 


glance  at  the  exhibition  was  necessary  to  an  apprer 
ciation  of  the  sensitiveness  of  the  artist  to  the  sub- 
ject he  represents,  whether  it  is  a  small  study  of  a 
child  knee-deep  in  water  dazzling  in  the  sun,  or  the 
portrait  of  some  old  man  or  fish- woman  who  might 
have  stepped  out  of  the  art  of  seventeenth-century 
Holland.   *  *  ^ 

"Nowhere,  perhaps,  are^  the  sensitive  quality  of 
his  feeling  for  his  subject  and  its  reflection  in  his 
technique  more  noticeable  than  in  the  delicate  por- 
trait drawings  and  the  light  and  sure  handling  of  his 
drawino^s  and  etchino^s  of  children. 

"  It  is  this  same  quality  that  gives  such  varying 
treatment  to  the  ascetic  Rabbi  and  to  the  fine  por- 
trait of  the  stocky  old  balloon  man  next  it.  His 
work  has  still  the  charm  of  that  which  is  swayed  by 
all  that  the  artist  admires — Rembrandt,  or  Paul 
Potter — and  his  quiet  cattle  are  drawn  with  the  same 
infinite  care  and  express  the  same  spirit  of  peaceful 
pastures  as  those  of  Potter  himself.  A  landscape 
of  the  Gloucester  country  and  people  gives  added 
expression  to  his  versatility  and  his  skill,  for  hero 
he  depicts,  not  merely  rough  and  knotty  tree  and 
foreground,  but  delicate  atmospheric  distance.  The 
work  of  Heintzelman  has  that  elasticity  and  versa- 
tility which,  combined  with  his  fine  feeling  for  deli- 
cate line,  his  s^^mpathetic  understanding  of  his 
subject,  and  his  knowledge  of  drawing,  should  carry 
him  far  in  the  world  of  etchers." 

In  the  Bulletin  of  the  Detroit  Institute  of 
Art,  Ernest  Heitkamp  says,  in  part : 

20 


^^^.  \A     Av.%  *vvt>k  *v-^ 


"Everything  Heintzelman  attempts  is  done  with  a 
consummate  mastery  and  certainty  that  gives  a 
genuine  pleasure  to  those  who  view  his  work.  His 
draughtsmanship  is  immaculate,  his  treatment  is  at 
all  times  suited  to  his  subject  and  the  end  he  has  in 
view.  His  blacks  are  velvety  and,  withal,  luminous  ; 
his  grays  as  airy  and  impermanent  as  a  soft  June 
breeze ;  his  whites  clear  and  effective. 

"In  the  handling  of  heads  Heintzelman  is  superb. 
Character,  truth,  depth  are  in  his  line  and  his  sur- 
face. Yet  note  how  effectively  and  cleverly,  in 
some  few,  he  plays  hands  against  the  head  for  the 
the  purpose  of  making  a  picture — the  head  complete 
and  finished,  the  hands,  in  contrast,  set  in  by  a  few 
masterful  sufiforestive  lines. 

"  Note  also  in  another  of  his  pictures  the  cleverness 
with  which  he  sets  down  the  feet  of  a  child,  as  if, 
only  tolerably  interested  in  the  picture  as  a  whole, 
his  enthusiasm  flamed  when  he  came  upon  a  par- 
ticularly difiicult  arrangement." 

"  It  [craftsmanship]  was  the  charm  of  his  earlier 
pencil  drawings,"  says  George  S.  Leonard  in  the 
Christian  Science  Monitor,  "  it  has  matured  and 
come  to  new  beauty  and  strength  in  his  later  etch- 
ings. And  it  is  always  too  sensitive  in  quality  to  be 
obtrusive.  It  can  deftly  trace  the  ephemeral  love- 
liness of  a  still  harbor  on  a  sunny  morning  ;  limn  the 
eager  body  of  a  bathing  urchin ;  find  the  structural 
dignity  of  a  twisted  pine,  and  read  humanity  in 
piper  and  vagabond. 

"  It  is  a  fashion  among  writers  of  gallery  notices 
22 


to  compare  every  new  portrayer  of  types  with 
Rembrandt,  and  Heintzelman  has  not  escaped  the 
foible.  Nothinor  is  more  absurd.  One  mio:ht  as  well 
credit  Shakespeare  with  the  ability  of  every  new 
writer  because  he  uses  the  English  language,  writes 
well,  and  confesses  to  liking  Shakespeare's  plays. 
Ability  always  approaches  ability.  The  roads  of 
true  art  always  converge  for  the  very  simple  reason 
that  they  are  founded  upon  common  laws  and  seek 
common  truths.  Heintzelman  gives  every  promise 
of  becoming  a  leading  American  etcher,  and  it  will 
be  not  because  of  Rembrandt  but  because  of 
Heintzelman." 

Elizabeth  Luther  Gary  is  a  bit  more  critical  in  her 
notes  on  one  of  the  exhibitions.  These  appeared  in 
the  New  York  Times  Magazine.  Only  a  small 
portion  are  given. 

"  One  of  the  recent  plates  is  called  The  Sun 
Bath,  two  figures,  a  woman  half  kneeling,  half 
reclining  on  the  floor,  an  open  book  before  her,  and 
the  little  nude  child  of  the  outdoor  subjects  stretched 
beside  her.  The  beauty  of  the  treatment  in  this 
plate  calls  for  applause.  There  is  not  a  superfluous 
line,  and  every  line  that  is  there  plays  into  a  lovely 
rhythm.  The  face  of  the  mother,  her  gesture,  and 
the  pose  of  the  child  combine  to  express  intent 
'nterest  and  complete  absence  of  self-consciousness. 

*  Mf-  ^ 

"A  series  of  little  figures,  drooping  ladies  with 
pensive  profiles  and  long  beautiful  hands,  show  the 
kind  of  sensitiveness  that  Whistler  and  Rossetti  had 

23 


to  models  of  this  special  linear  elegance.  One  of 
these  ladies,  of  the  exotic  Jane  Burden  type,  fingers 
a  long  chain  as  she  leans  forward  in  a  chair  draped 
with  a  patterned  material.  A  peacock  is  the  prin- 
cipal element  in  the  pattern,  and  the  whole  design 
has  individuality  and  piquancy. 

"  Perhaps  the  series  in  which  a  nude  child  is  play- 
ing out  of  doors  best  represents  the  difference 
between  Mr.  Heintzelman's  attitude  and  that  of  the 
artist  who  either  fears  a  '  sentimental '  subject  or 
embraces  it  without  discrimination.  *  *  *  The 
beauty  of  childishness  is  in  every  line  of  the  small 
figure,  but  it  is  a  firm,  daintily  muscular  beauty, 
avoiding  compromise  with  mere  prettiness. 

"  To  turn  from  these  to  the  realistic  Gloucester 
characters,  the  musician  with  his  bagpipe,  the  clumsy 
women  seated  among  old  coppers  and  brasses,  the 
old  woman  knitting,  is  to  perceive  the  breadth  of  the 
artist's  sympathies.  *  *  *  There  is  every  reason  to 
expect  from  the  artist  a  more  concentrated  art,  and 
a  more  sustained  tension.  Most  of  the  plates  would 
gain  by  the  elimination  of  detail ;  but  there  is  none 
of  the  idleness  of  mind  that  does  without  detail  to 
avoid  study,  and  Mr.  Heintzelman's  public  will  know 
that  what  he  has  left  out  he  first  has  mastered.'- 

The  great  museums  of  the  country  have  not  been 
behind  the  Public  and  the  Press  in  res^isterinor  warm 
approval  of  the  new  etcher.  The  Metropolitan 
Museum  of  Fine  Arts,  the  Art  Institute  of  Detroit, 
the  Chicago  Art  Institute,  the  Brooklyn  Museum  of 
Art,  the  Ehode  Island  School  of  Art,  the  Cincinnati 

24 


Museum  of  Art,  the  California  State  Lil)rary,  the 
Library  of  Congress,  the  New  York  Public  Library, 
have  all  honored  Heintzelman  during  the  past  year 
by  adding  some  of  his  etchings  to  their  permanent 
collections.  Moreover,  all  but  two  of  the  above 
named  have  hospitably  opened  their  doors  for  ex- 
hibitions of  his  work. 

But  what,  perhaps,  is^jnore  significant  than  any- 
thing yet  mentioned  is  the  enthusiastic  manner  in 
which  his  fellow  etchers  have  raised  him  upon  their 
shoulders  and  loudly  acclaimed  his  worth.  In 
honoring  him  they  honor  themselves  and  deal  out  a 
certain  justice,  for  I  know  of  no  etcher  who,  as  much 
as  he,  rejoices  to  find  in  the  work  of  others  "  so  much 
to  praise,  so  little  to  forgive." 

The  Brooklyn  Society  of  Etchers,  the  Chicago 
Society  of  Etchers,  the  Print  Makers  of  Los  Angeles 
and  the  California  Society  of  Etchers  have  each 
elected  him  to  active  membership.  The  Brooklyn 
Society  awarded  him  the  Barnett  Prize  of  1919  for 
the  best  etching  in  the  society's  annual  exhibition 
and  invited  him  to  make  the  plate  from  which  im- 
pressions are  given  to  the  Associate  Membership, 
the  Chicago  Society  gave  him  the  Logan  Prize  for 
the  l)est  etched  figure  composition  in  their  yearly 
show,  while  the  California  Society  awarded  him  the 
First  Prize  for  the  best  etching  shown  in  their  1920 
exhibition. 

Here,  then,  is  the  verdict  of  the  public,  the  press, 
the  art  institutions  and  his  fellow-craftsmen  as  to 
what  Heintzelman  stands  for  as  an  etcher.     Prac- 

26  (Continued  on  Page  32) 


Ykft.  \1      -WiVvVt  St^^t  V>^^  -\tH 


Awarded : 

First    Prize,    California   Society   of  Etchers. 

Barnett  Prize,   Brooklyn  Society  of  Etchers. 

Logan   Prize,   Chicago   Society   of   Etchers. 
Tkis  was  the  last  etching  Heintzelman  made  before  the 
igig-20  exhibition  season  opened.      The  opening  of  the 
present  season  finds  it  in  the  permanent  collections  of 
eight  American    Museums.     {See  List  of  Etchings.) 


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tically  all  of  these  honors  have  come  to  him  within  a 
year.  It  is  a  marvelous  record.  I  am  constrained 
to  repeat  here  a  statement  printed  some  months  ago. 
"No  American  etcher  ever  adv^anced  so  rapidly  to 
the  front  rank  of  his  profession  as  has  Heintzelman." 

There  is  the  danger,  of  course,  that  such  sudden 
success  may  weaken  the  quality  of  his  output  while 
it  increases  the  quantity.  Although  an  etcher  for 
only  about  four  years  ne  has  been  in  professional 
life  for  ten ;  although  but  twenty-eight  years  of  age, 
the  strengthening  and  maturing  of  his  powers  toward 
a  definite  goal  has  been  proceeding  uninterruptedly 
during  the  years  when  the  average  young  man  is 
beating  about  and  wondering  for  what  port  to  sail. 
Making  one's  own  way  in  the  world,  too,  has  a 
wonderfully  steadying  effect,  lessening  the  danger 
of  over-contidence,  while  adding  maturity  to  judg- 
ment. 

"As  to  the  future,"  says  Frank  Weitenkampf, 
Curator  of  Prints  of  the  New  York  Public  Library, 
apropos  of  Heintzelman,  in  a  recent  letter,  "predic- 
tion is  not  easy  because  various  possible  elements 
may  enter  to  influence,  fundamentally,  his  develop- 
ment. As  one  artist  put  it  to  me,  Mr.  Heintzelman 
has  ^  acquired  great  deftness  in  the  manipulation  of 
needle  and  acid.'  From  this  first  great  step  comes 
development  into  individual  expression.  And  that, 
in  its  complete  fulfilment,  can  hardly  be  definitely 
forecast.  We  must  await  it.  And  we  do,  with 
interest." 


32 


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